1. THE MUSICAL CULTURE OF EUROPE

2. How does music communicate ideas of national identity?

3. We will examine European folk music to discover the many ways it can express nationalist styles

4. Vienna, with its rich history and variety of styles, will serve as our focal point

5. There are three views of Viennese music

6. 1. History contains labels for musical styles that are distinctively Viennese

7. Viennese music symbolizes the unbroken and persistent history of the city

8. 2. Vienna has a tendency to attract outsiders

9. 3. Vienna forms a sort of cultural backdrop that permits unexpected, even jarring, juxtapositions

10. Spanish Work Song “La Trilla” Textbook CD 2, track 19

11. “Das Wiener Fiakerlied” (“The Viennese Coachman’s Song”), Textbook CD 2, track 20

12. Europe is multicultural

13. Individuals tend to identify with the culture of the region in which they live

14. The musical areas of Europe also result from groups of people who share a way of life and a distinctive music

15. The music of European Roma and Sinti is a process of negotiation between the community and the culture of which it is a part

16. “Khused” (Chassidic Dance) Textbook CD 2, track 21

17. Modern European unity is rooted in old, nationalist identities

18. There is a belief that the music of the past is related to the music of the present

19. Folk music can reveal history in both musical and political ways

20. “The Owl Woman’s Ballad,” Textbook CD 2, track 22

21. The Hungarian construction of history out of folk-song style has clear nationalistic implications

22. Béla Bartók: “Lullaby” and “Dance from Maramoros,” Textbook CD 2, track 23

23. The idea of “folk music” emerges in the late 18th century

24. European ideas about music have a great deal to do with shared historical experiences

25. This type of music is referred to as “folk music”

26. “Black Is,” Textbook CD 2, track 24

27. Folk music that accompanies ritual or that embodies spiritual themes is overwhelmingly religious in many communities

28. Concerts have become a form of musical ritual particularly suited to modern Europe

29. Concerts inevitably shift a certain degree of attention to the performer

30. “Steirischer mit Gestanzln” (“Dance from Styria”) Textbook CD 3, track 1

31. Musical instruments are a common way to classify music

32. Epic Song from Montenegro: “Tzarina Milica und Duke Vladeta,” Textbook CD 3, track 2

33. When Instruments Tell Stories

34. Musical instruments are symbols of unity and distinctiveness

35. Music lives in tension with the social structure of European culture

36. Key Concepts

37. Folk music has been seen as a means of revealing history

38. “Folk music” was an eighteenth-century concept

39. Urbanization was on the increase during this period

40. National styles are more the result of politics than of a consistent style of music

41. Another legacy of the 19th century was the rise of virtuosity

42. The idealized form of folk music is an aesthetic metaphor for community

43. Compare the piano with the violin

44. The Eurovision Song Contest is a metaphor for modern Europe

45. Summary

46. European music is a complex combination of different musical styles, created by many different peoples

47. Music is used by various European countries as a mean of defining themselves and creating a unified culture

48. The story of Europe’s music is closely related to its history

49. European folk music is often associated with a specific cultural group or regional area

50. Urbanization introduced a wider variety of music and musical instruments

51. The formal concert developed as the primary way of hearing music

52. The investion of new instruments—notably the piano—revolutionized how music was performed

53. The Eurovision Song Contest underscores the diversity in European music today

54. Is there such a thing as Canadian music?

55. What types of music might we find in our society that are communal and egalitarian, like certain types of European folk music?